Updated on 2023/12/04

写真a

 
FUJII, Yuri
 
Affiliation
Faculty of Science and Engineering, School of Creative Science and Engineering
Job title
Professor(non-tenure-track)
Degree
Doctor of Architecture ( 2021 Waseda University )
Profile

2014年 - 2020年　早稲田大学 創造理工学部　准教授
2021年 - 　            早稲田大学 創造理工学部　教授

Professional Memberships

  • 　
    　
    　

    ARCHITECTURAL INSTITUTE OF JAPAN

Research Areas

  • Architectural planning and city planning
 

Papers

  • EXPLORATIONS OF PURISM PAINTINGS AS SEEN IN CHAPELLE DE RONCHAMP Le Corbusier’s methods of evoking sensations in his audience

    藤井由理, 古谷誠章, 白石哲雄

    日本建築学会計画系論文集   84 ( 755 ) 277‐286(J‐STAGE) - 286  2019  [Refereed]

    Authorship：Lead author

    　View Summary

    The aim of this paper is to investigate the similarities in spatial features of Chapelle de Ronchamp (Chapelle Notre-Dame du Haut), which is one of Charles-Edouard "Le Corbusier" Jeanneret's (1887-1965) later works, with the explorations in his early Purism paintings.<br><br> Young Jeanneret wanted to become a painter in Switzerland, and even after coming to prominence as an architect, he continued to paint throughout his life. He stated that his "patient research" conducted while painting, influenced his architecture. Not long before assuming the name "Le Corbusier", Jeanneret met the painter Amédée Ozenfant (1886-1966) in Paris in 1917. Together, they advocated for a form of painting called "Purism", and published a magazine entitled "L'Esprit Nouveau" from 1920 to 1925. Additionally, they coauthored an article entitled "Le Purisme" which was included in the 4th issues of said magazine. In this article, they insisted on the necessity of art, including Purism paintings, to activate the audience's senses in order to evoke certain subjective sensations in them.<br><br> Through the analysis of the visual methods used to evoke those sensations in Jeanneret's Purism paintings, it was found that he experimented with multiple techniques. Those include: rejecting perspective in pursue of a more egalitarian representation, concurrently using multiple projections, using a multi-viewpoint projection different from that in Cubism, spreading of objects to diffuse focus, emphasizing both volume and thinness at the same time, using the interpenetration of space in the depth direction, aligning objects to share contours, blurring the distinction between the part and the whole, as well as creating multi-centered layouts. What those methods all have in common is that they put the audience in the state of perpetual ambiguity, which prevents them from reaching one definite understanding of the elements of the piece. Instead, viewers' understanding of the piece is suspended, as it is permanently being sent back and forth between two opposite interpretations or between several alternatives.<br><br> Those methods can also be seen in the spatial characteristic of Chapelle de Ronchamp. Its curved walls, tilted roof and floor all seem to reject perspective. It compels the audience to continuously readjust their point of reference. The chapel has no definite facade. Moreover, its curved walls shape the interior while unfolding to the outside and it is difficult to tell where the "inside" ends and the "outside" begins. The wall on the east side of the chapel establishes the duality of both space and function, while simultaneously separating and connecting the inside from the outside. Multi-axial plan diffuses focus from any particular point in the chapel. These spatial characteristics are to prevent the audience from reaching one definite interpretation of the physical space and to make them continuously switch between several alternatives. It was a common method in his Purism paintings.<br><br> In conclusion, this paper reveals the existence of multiple similarities between early explorations of Le Corbusier as a Purism painter, and the way he organized the space in Chapelle de Ronchamp as an accomplished architect.

    DOI CiNii J-GLOBAL

  • CLARIFYING THE COMPOSITION OF THE PRODUCTION OF “UN COUVENT DE LE CORBUSIER”

    Michisato IKEDA, Tetsuyu SHIRAISHI, Yuri FUJII, Nobuaki FURUYA

    Journal of Architecture and Planning (Transactions of AIJ)   88 ( 814 ) 3407 - 3415  2023.12

    DOI

  • LE CORBUSIER'S COLLABORATION WITH THE EDITOR JEAN PETIT IN HIS BOOKS PRODUCTION

    Michisato IKEDA, Nobuaki FURUYA, Tetsuyu SHIRAISHI, Yuri FUJII

    Journal of Architecture and Planning (Transactions of AIJ)   88 ( 806 ) 1465 - 1472  2023.04

    DOI

  • Spatial distribution characteristics of urban private gardens under the influence of shiyin concept (seclusion in the city): Case studies of urban private gardens in Suzhou from the end of the 14th century to the middle of the 18th century

    Wenda Zhang, Xinpeng Wang, Zhehan Zhang, Kai Fang, Yuri Fujii, Nobuaki Furuya

    JAPAN ARCHITECTURAL REVIEW   6 ( 1 )  2023.01

    　View Summary

    This study examined the spatial distribution characteristics of urban private gardens under the influence of the shiyin concept (seclusion in the city) by studying urban private gardens in Suzhou from the end of the 14th century to the middle of the 18th century. Under the influence of shiyin, private gardens were constructed within the city. The urban spatial distribution features of 38 private gardens were analyzed through space syntax and related methods. The results show that (1) locationally, the private gardens were located more in main functional areas instead of suburban areas, and (2) structurally, the urban private gardens were integrated globally and separated locally in the urban space system. Combined with the discussion of shiyin, the results show that the reclusion aspect of shiyin is not related to the location distribution of urban private gardens, but is reflected more at the structural level, with urban private gardens locally separated from urban space systems. This study provides a new perspective to discuss urban private gardens in terms of urban space and suggests a focus on local structural features of private gardens at the medium and micro level of urban space (such as streets and blocks).

    DOI

    Scopus

  • REPORT OF REPLACEMENT OF FOUR PHOTOGRAPHY IN MAISON DES PÈLERINS DESIGNED BY LE CORBUSIER

    SHIRAISHI Tetsuyu, YAMADA Hiroshi, FUJII Yuri, FURUYA Nobuaki

    AIJ Journal of Technology and Design   ( 63 ) 770 - 775  2020.06

    　View Summary

    <p>This paper clarifies the following: First, the four art pieces in Maison de Pèlerins by Le Corbusier are edited photographic prints based on existing artworks. Second, the placement of the art pieces depicting the life of Christ within the Maison de Pèlerins is related to the building's plan. The investigation from 2009 to 2018 identifies the original artworks upon which the highly deteriorated prints were based. During restoration works, the original artworks were digitalized and prints were recreated. This research helps to preserve the building for future use by providing the data to Fondation Le Corbusier and l' A.O.N.D.H.</p>

    DOI CiNii

    Scopus

  • REPORT OF MEASUREMENT SURVEY OF MAISON DES PÈLERINS DESIGNED BY LE CORBUSIER

    SHIRAISHI Tetsuyu, YAMADA Hiroshi, FUJII Yuri, FURUYA Nobuaki

    AIJ Journal of Technology and Design   26 ( 62 ) 395 - 400  2020  [Refereed]

    　View Summary

    <p>Authors carried out measurement investigation of Chapelle Notre Dame du Haut (1950-1955) designed by Le Corbusier in Ronchamp, France and Maison des Pèlerins. In this investigation, the present construction situation of Maison des Pèlerins was clarified. Morphological, positional, and color analyses revealed that the Chapelle Notre Dame du Haut was related to other elements in the whole hill of Ronchamp in terms of gaze and positional relationship, and it was concluded that the Maison des Pèlerins was a part of the "Integration and harmonization of the entire site" that Le Corbusier aimed at. </p>

    DOI CiNii

    Scopus

  • STUDY ON THE COMPOSITION OF BOUNDARY SPACE IN THE CLASSICAL GARDENS OF SUZHOU, CHINA

    LI Wenxi, 藤井由理, 古谷誠章

    日本建築学会計画系論文集   84 ( 755 ) 287‐297(J‐STAGE) - 297  2019  [Refereed]

    DOI CiNii J-GLOBAL

  • SYNCHRONICITY TO VISION FOR PARIS EMBIDIED IN EUGÈNE ATGET'S PHOTOGRAPHY:The origin of Le Corbusier's aesthetics

    SHIRAISHI Tetsuyu, YAMADA Hiroshi, FUJII Yuri, FURUYA Nobuaki

    Journal of Architecture and Planning (Transactions of AIJ)   84 ( 759 ) 1289 - 1297  2019  [Refereed]

    　View Summary

    <p> This paper is about Le Corbusier being in possession of some of photographer Eugène Atget's photos. Le Corbusier used them to illustrate urban planning concepts in his books. The focus is on the period between 1931 and 1945, roughly corresponding to the time between the two world wars. It is a period of major changes in principles of the European art world. This paper chronicles how Le Corbusier's writings and his outlook on Paris, the people, and living conditions had evolved.</p><p> First, I clarified the points of contact between Le Corbusier and the Surrealists. Then, I investigated the chronology of how Le Corbusier could have acquired Atget's photos. Atget died in 1927. Three years after that, in 1930, Atget's first photo album was released. The very same year, Le Corbusier worked with the Surrealists, such as André Breton, on the avant-garde magazine Minotaure. Two of Atget's photos were found in Le Corbusier's collection, to which I present two possible ways in which they might have been acquired:</p><p> 1: Le Corbusier might have purchased the photos at Atget's atelier while Atget was still alive.</p><p> 2: Le Corbusier might have gotten the photos from the artists working on the aforementioned "Minotaure" in 1930.</p><p> I have found a reference to "Jeannuot of Dessinateurs Industrielles" on Atget's list of clients, but it is yet to be confirmed whether this person is Charles Edouard Jeanneret or Pierre Jeanneret.</p><p> Subsequently, I have verified that Le Corbusier used Atget's photos in three of his books. In "Plans No. 2" (1931), "Le Ville Radieuse" (1935), and "Le Lyrisme des Temps Nouveaux et L'Urbanisme (1939), he used some of those pictures in the chapter called "Menace sur Paris", where he expressed his concern over the situation in Paris and described his vision of an ideal city. The pictures were combined with a sketch of "Plan Voisin", and it can be said that they were a part of Le Corbusier's city planning concepts. In 1931, three of Atget's photos were used. I found that in 1939 only one of his photos was used, together with Le Corbusier's sketch. On the other hand, in "Précisions" (1930), only the sketch of the Plan Voisin was used, while none of Atget's photos was included. Hence, this leads me to conclude that Le Corbusier changed the attitude towards Atget's photos during this decade.</p><p> Finally, I have presented a description of the situation in Paris from 1930 to 1940, and the subsequent period until the beginning of the Second World War in France. In Paris of 1932, infectious diseases - such as cholera and tuberculosis - spread mainly around unsanitary environments, and an adjustment - based on modern ways of thinking - was necessary. Le Corbusier immersed himself in research actively and searched for a new vision for Paris. Le Corbusier aimed at an environment where humans can live healthier and more sanitary lives, and in his vision of the future there was no place for the old Paris present in Atget's photos.</p>

    DOI CiNii J-GLOBAL

  • ブリュンメル邸における空間の運動性に関する研究

    矢嶋一裕, 藤井由理, 古谷誠章

    日本建築学会計画系論文集   83 ( 750 ) 1571 - 1577  2018.08  [Refereed]

  • ARCHITECTURAL THEORY AND THE USER'S MIND An exploratory study on perception of user's rationality in seminal texts of architectural theory

    Aleksander JANKOWSKI, Nobuaki FURUYA, Yuri FUJII

      82 ( 736 ) 1591 - 1597  2017.06  [Refereed]

    DOI CiNii

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Books and Other Publications

  • 危機の時代からみた都市 : 歴史・美術・構想

    坂上, 桂子

    水声社  2022.03 ISBN: 9784801006348

  • 世界の名建築解剖図鑑

    Hopkins, Owen, 小室, 沙織, 伏見, 唯, 藤井, 由理

    エクスナレッジ  2021.07 ISBN: 9784767829081

  • こんな建物だれがどうしてつくったの? : 現代建築100の読み解き

    Zukowsky, John, 藤村, 奈緒美, 藤井, 由理

    東京美術  2017.08 ISBN: 9784808710828

Research Projects

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Misc

  • Research on Le Corbusier: The transition of the design method using “Localized placement“ and “Continuous placement“ of the primary colors in the living spaces-Through the analysis of all the works-

    花房秀華, 嵐陽向, 池田理哲, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2021  2021

    J-GLOBAL

  • Humanism of Togo Murano in 〈Growing〉 architecture

    西那巳子, 池田理哲, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2021  2021

    J-GLOBAL

  • Research on design methods “landscaped extension of architecture“ seen in the Geoffrey Bawa landscape-Through the design process of a weekend home《Lunuganga》(1948-1998)-

    弘部佳奈子, 嵐陽向, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2021  2021

    J-GLOBAL

  • The effects of Non-horizontal floor architecture on Dynamic Three-Dimensional Space

    小川千紘, 嵐陽向, 池田理哲, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2021  2021

    J-GLOBAL

  • Design Method Using Building Blocks: Through a Comparison of Frank Lloyd Wright and Walter Gropius Originated with Friedrich Froebel

    青木陸, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2021  2021

    J-GLOBAL

  • Research on Antoni Gaudi i Cornet: Architectual mimicry brought about by color mixing through the accumulation of materials-Focusing on “distance and perspective“-

    茅野紗由, 嵐陽向, 池田理哲, 斎藤信吾, 山村健, 山村健, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2021  2021

    J-GLOBAL

  • 9251 《Fondazione Masieri》におけるCarlo Scarpaの設計意図とその反映 - Frank Lloyd Wrightの設計（1953）とCarlo Scarpaの設計（1968-1978）の変遷を通して-

    伊藤 丈治, 斎藤 信吾, 藤井 由理, 古谷 誠章

    建築歴史・意匠   ( 2020 ) 501 - 502  2020.09

    CiNii

  • 9323 現代中国建築家の理念における「山水概念」から山水建築を考える －王?・王欣両建築家を軸としてみる山水建築と山水画の相関関係の研究－

    張替 依里, 邱 廷君, 方 愷, 王 薪鵬, 藤井 由理, 古谷 誠章

    建築歴史・意匠   ( 2020 ) 645 - 646  2020.09

    CiNii

  • 5660 高複合高密度都市研究 外濠・跡地を継承するための利用形態と隣接都市の関係

    石黒 翔也, 宮嶋 春風, 藤井 由理, 古谷 誠章, 川口 豊夢

    建築計画   ( 2020 ) 1323 - 1324  2020.09

    CiNii

  • ELICITING THE “SENSATION OF A MATHEMATICAL ORDER” THROUGH THE COLLECTIVE FORM IN PURISM: Le Corbusier's explorations in Purism paintings

    FUJII Yuri, FURUYA Nobuaki, SHIRAISHI Tetsuyu

    Journal of Architecture and Planning (Transactions of AIJ)   85 ( 778 ) 2819 - 2827  2020

    　View Summary

    This study explores similarities between spatial features of architectures designed by Charles-Edouard "Le Corbusier" Jeanneret (1887-1965) and his explorations in early Purism paintings. The study focuses on the fact that Le Corbusier had painted for his entire life. He also stated that his experiments while painting had a huge influence on his architectural works.

     

     Through his Purism paintings, Le Corbusier wanted to stimulate viewers' senses and to elicit subjective responses in their minds. In order to do that, Le Corbusier attempted to suspend the viewer's understanding of the piece by permanently sending it back and forth between two opposite interpretations or between several alternatives. Those methods can also be seen in spatial characteristics of Chapelle de Ronchamp (see: Fujii, Furuya, & Shiraishi, 20193)). Jeanneret stated that "une œuvre d'art doit provoquer une sensation d'ordre mathématique" [art works should elicit a sensation of a mathematical order]. Similarly, he thought that generating the "sensation of a mathematical order" was an important part of his Purism paintings. Through the analysis of Jeanneret's writings and paintings, this paper clarifies which methods were employed to elicit the "sensation of mathematical order" in the viewers of Purism paintings. It is important to understand that this "mathematical order" is not something depicted in the painting itself, but rather a sensation felt by the viewers of Purism paintings

     

     For Le Corbusier, the act of painting was about 'constructing' a greater whole by depicting specific elements in a particular way. First, he would select some commonly recognizable, yet in some ways universal, daily items. He called such items "themes-objects". Then, he tried to elicit the "sensation of a mathematical order" in the viewers by aggregating depictions of those themes-objects in his paintings. There were two types of aggregation. The first one was based on the idea of "les tracés régulateurs" [regulating lines]. The second one was based on positional adjacency achieved through aligning the outlines of several themes-objects. A coherent whole was created by the interplay between themes-objects on the canvas. This interplay is referred to as the "collective form" in this study.

     

     In Purism paintings, achieving meaning through the composition of themes-objects was not important. Instead, the focus was purely on arranging themes-objects for the purpose of eliciting the “sensation of a mathematical order” in the viewer. In Purism paintings, stability and order are usually hard to perceive. "Collective forms" created by Le Corbusier are also relatively nebulous. Their deliberate ambiguity and lack of strong connections enables the viewer's perception of the painting's subject to be suspended between several interpretations in order to strongly stimulate their senses. Because of that, the viewer can start to subjectively perceive the interplay between themes-objects in the painting. Finally, the “sensation of a mathematical order” can emerge in the viewer.

    DOI CiNii

  • A STUDY ON THE SPATIAL ATHLETICISM OF VILLA MULLER IN PRAGUE

    YAJIMA Kazuhiro, FUJII Yuri, FURUYA Nobuaki

    Journal of Architecture and Planning (Transactions of AIJ)   85 ( 772 ) 1325 - 1333  2020

    　View Summary

    This paper picks up Villa Muller (1930) designed by Adolf Loos. The purpose of this paper is to clarify the spatial athleticism of Villa Muller. I refer to the book of Leslie van Duzer and Kent Kleinman in Villa Muller, A Work of Adolf Loos, Princeton Architectural Press, 1994. When they analyze the Raumplan, they use the idea, “the stationary and mobile subjects”. They try to analyze interior space through physical and visual athleticism. They point out that Villa Muller has had both subjects of stationary and mobile. Interior space had stationary situation basically and mobile situation was in it. Such ambiguity situation is characteristic in Villa Muller, they said. I refer to their point of view and rebuild it called the spatial athleticism including a material point of view (the mobile subjects by finishing materials in particular). van Duzer and Kleinman don’t connect the mobile subjects by finishing materials with the characteristic of the Raumplan positively.

     Picking up the spatial athleticism is to get the perceptual images of space. I think that the images of space have two kinds of images. One is the existence of space and the other is the appearance of space. The existence of space is a composition of space such as the shape of plan, the numbers of columns and so on. The appearance of space is phenomena and experience by human movements.

     The spatial athleticism as the existence of the space is to examine a flow (mobile) and stagnation (stationary) in the interior space as a kind of fluid. We can confirm it by a drawing and evaluate a flow and stagnation by the shape of plan and connection of the room. On the other hand, the appearance of space is perceptual experience. For the visual perception, we can evaluate it as continuation (mobile) and division (stationary) when an image of the space shifts from the scene to the scene by human movements.

     In the entrance, travertin is used on the floor of the approach and the wall of the entrance. When the travertin leads eyes from the floor to the wall, the mobile situation changes the stationary situation. In the entrance hall and anterroom, using the brick tiles on the floor, the mobile situation is generated. But the symmetrical architectral elements of anterroom create stationary situation when the colors of the green glass wall of the entrance hall and blue ceiling of the anterroom lead eyes from the wall to the ceiling. In the main hall, the marble wall creates the enclosure. But in the entrance of the main hall, the marble wall is protruded from the main hall and the mobile situation is generated. The marble wall continues to other rooms. In the dining room, the marble wall from a walkway enter in it. However the marble wall has the distance with architectural elements of dining room. That’s why the stationary situation by the dining room and mobile situation by the marble wall are lived together. The boudoir has mobile situation by the irregular plan. But the regular form of the ceiling is generated by lemon wood wall, and the stationary situation is also there.

     In conclusion, it clarified that the harmony between the stationary and mobile situation are also generated by the finishing materials in Villa Muller.

    DOI CiNii

  • Research on design and practice thought of the proportion through a form of the architecture works of Kiyonori Kikutake

    輪嶋優一, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2020  2020

    J-GLOBAL

  • Research on 〈corner〉 〈barrier〉 〈corridor〉 By the light of fluorescent light in the work of Artist Dan Flavin-Through an exhaustive analysis of all 697 works-

    徳田華, 徳田華, 嵐陽向, 斎藤信吾, 藤井由理, 藤井由理, 古谷誠章, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2020  2020

    J-GLOBAL

  • New clue of Le Corbusier deciphering from ’Venice Hospital’

    池田理哲, 池田理哲, 斎藤信吾, 斎藤信吾, 藤井由理, 藤井由理, 古谷誠章, 古谷誠章, 白石哲雄

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2020  2020

    J-GLOBAL

  • Carlo Scarpa’s design intent and its reflection in 《Fondazione Masieri》-Through the transition of the design of Frank Lloyd Wright (1953) and the design of Carlo Scarpa (1968-1978)-

    伊藤丈治, 伊藤丈治, 斎藤信吾, 斎藤信吾, 藤井由理, 藤井由理, 古谷誠章, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2020  2020

    J-GLOBAL

  • Triaxial Philosophy of Takamasa Yoshizaka-The Oral History of “U Laboratory“ and “Inter-University Seminar House“-

    田代夢々, 田代夢々, 斎藤信吾, 斎藤信吾, 藤井由理, 藤井由理, 古谷誠章, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2020  2020

    J-GLOBAL

  • 商業美術家濱田増治の陳列窓にみる建築的思想―『現代商業美術全集』の分析を通して―

    石橋梨沙, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2019   ROMBUNNO.9237  2019.07

    J-GLOBAL

  • 就学前施設複合化による世代間交流促進のための建築・運営計画とその波及効果に関する研究―東京都23区を事例として―(その1)

    堀井秀哉, 伊藤弥季南, 根本友樹, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2019   ROMBUNNO.5216  2019.07

    J-GLOBAL

  • Carlo Scarpa研究 コーニスにみる伝統的要素の再解釈とその反映―講義録『a lezione con Carlo Scarpa』を用いた《ヴェローナ市民銀行》と《ブリオン家の墓地》礼拝堂の分析を通して―

    木村一暁, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2019   ROMBUNNO.9476  2019.07

    J-GLOBAL

  • 内装木質化図書館における木材・色彩と利用者心理・行動の相関研究

    久保知芙美, 宮嶋春風, 根本友樹, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2019 ( 2019 ) ROMBUNNO.9087 - 174  2019.07

    CiNii J-GLOBAL

  • 佐賀県有田町における生業継承を通じた景観保持,まちづくりの研究

    夏本明彦, 夏本明彦, 根本友樹, 藤井由理, 藤井由理, 古谷誠章, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2019   ROMBUNNO.6014  2019.07

    J-GLOBAL

  • Carlo Scarpa研究 Laguna Venetaの地理的固有性がもたらす建築への空間論的影響について―【Fondazione Querini Stampalia】と【Negozio Olivetti】の断面的研究を中心として―

    嵐陽向, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2019 ( 2019 ) ROMBUNNO.9477 - 954  2019.07

    CiNii J-GLOBAL

  • 山車組による祭事の維持が地域持続性に与える効果―東日本大震災前後の祭事を事例として―

    糟谷拓海, 糟谷拓海, 堀部美菜, 堀部美菜, 根本友樹, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2019   ROMBUNNO.6026  2019.07

    J-GLOBAL

  • 菊竹清訓研究 設備の〈かた〉・構造の〈かた〉の発現―《都城市民会館》と《石橋文化センター音楽堂》の比較を通して―

    小日向孝夫, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2019   ROMBUNNO.9054  2019.07

    J-GLOBAL

  • 《京都信用金庫》《黒石ほるぷ子ども館》における〈人間的空間〉の再考―ムーブネットを端緒とした「子ども」の空間にみる〈スカイ・ハウス〉増改築を通じて―

    真木友哉, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2019   ROMBUNNO.9228  2019.07

    J-GLOBAL

  • 就学前施設複合化による世代間交流促進のための建築・運営計画とその波及効果に関する研究―東京都23区を事例として―(その2)

    鈴木優也, 伊藤弥季南, 根本友樹, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2019   ROMBUNNO.5217  2019.07

    J-GLOBAL

  • John Hejdukの住宅作品《Diamond House B》にみる建築表現と設計意図

    青木陸, 高橋まり, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2019   ROMBUNNO.9225  2019.07

    J-GLOBAL

  • シェアハウス居住者・運営者による共有木質空間の住みこなしと心理的効果に関する研究

    糟谷拓海, 根本友樹, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2018   ROMBUNNO.5669  2018.07

    J-GLOBAL

  • 《芦屋市民センター・ルナホール》の変遷にみる山崎泰孝の劇場設計思想の発展

    原田都木子, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2018   ROMBUNNO.9092  2018.07

    J-GLOBAL

  • 幼稚園・保育所における木造木質化と能動的・受動的木育効果の相関

    山田瑞月, 根本友樹, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2018   ROMBUNNO.5025  2018.07

    J-GLOBAL

  • 建築における〈積木的〉特性に関する研究―建築家の創作態度を通して―

    青木陸, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2018 ( 2018 ) ROMBUNNO.9217 - 434  2018.07

    CiNii J-GLOBAL

  • 街道のゆかりを活かしたまちづくりによる地域間連携・交流の研究

    堀井秀哉, 根本友樹, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2018   ROMBUNNO.6048  2018.07

    J-GLOBAL

  • 木造曲面空間の設計意図による実現手法と印象評価の相関

    中莖まりな, 根本友樹, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2018   ROMBUNNO.5340  2018.07

    J-GLOBAL

  • 木造木質設計研究―地場産材利用における木造公共建築物の構法選択と類型化―

    荒野颯飛, 宮嶋春風, 根本友樹, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2018 ( 2018 ) ROMBUNNO.5455 - 942  2018.07

    CiNii J-GLOBAL

  • 地域住民による吉野林業の活性化への取り組みが地域ネットワークに与える影響とその波及効果に関する研究(その2)

    青木日向子, 鈴木優也, 根本友樹, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2018   ROMBUNNO.6068  2018.07

    J-GLOBAL

  • 季節移動居住群の距離間隔と空間利用の特性―トンレサップ湖・水上住居群の事例―

    永井拓実, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2018   ROMBUNNO.5547  2018.07

    J-GLOBAL

  • Gio Ponti研究《Villa Planchart》と雑誌『domus』からみる「domus」に関する設計意図

    池田理哲, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2018   ROMBUNNO.9101  2018.07

    J-GLOBAL

  • 地域住民による吉野林業の活性化への取り組みが地域ネットワークに与える影響とその波及効果に関する研究(その1)

    鈴木優也, 青木日向子, 根本友樹, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2018   ROMBUNNO.6067  2018.07

    J-GLOBAL

  • アドルフ・ロースのプルゼニ時代に着目する意義について

    矢嶋一裕, 斎藤信吾, 藤井由理, 古谷誠章, 矢嶋一裕, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2017   ROMBUNNO.9455  2017.07

    J-GLOBAL

  • Carlo Scarpa研究 赤いエニシダ(GINESTRA ROSSA)等にみる時間による変化の受容に関する設計意図―講義録『a lezione con Carlo Scarpa』を通じて―

    関優洋子, 関優洋子, 斎藤信吾, 斎藤信吾, 藤井由理, 藤井由理, 古谷誠章, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2017 ( 2017 ) ROMBUNNO.9201 - 402  2017.07

    CiNii J-GLOBAL

  • 縮退の町―技術をつなぐ4年間の新嘗祭―

    笹原千晶, 藤井由理, 藤井由理, 藤井由理, 古谷誠章, 古谷誠章, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2017   ROMBUNNO.14013  2017.07

    J-GLOBAL

  • ル・コルビュジエ自邸《ポルト・モリトールの共同住宅》の実空間分析に基づく〈人間的建築の五つの要点Les5points d’une architecture humaine〉の定義

    田代夢々, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2017 ( 2017 ) ROMBUNNO.9393 - 786  2017.07

    CiNii J-GLOBAL

  • Le Corbusier研究“ロンシャンの丘“における設計思想と「精神性を宿す建築」-《ロンシャンの礼拝堂》の語り人ジャン-フランソワ・マテ氏へのインタビューを通して-

    樋口かほる, 斎藤信吾, 藤井由理, 古谷誠章, 樋口かほる, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2017  2017

    J-GLOBAL

  • 菊竹清訓研究 初期作品群の原図を用いた部材ルートの分析にみる「更新」の真意

    高橋諒, 古谷誠章, 藤井由理, 斎藤信吾

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2017  2017

    J-GLOBAL

  • トクシュウ 「 ケンチク × テンランカイ 」 ノ カノウセイ

    フジイ ユリ

        2 - 5  2016

    CiNii

  • Carlo Scarpa研究 〈Fenomeni Fisici(物質現象)〉を背景とする「開口」の成り立ち-実測調査に基づいて-

    小坂諭美, 小坂諭美, 斎藤信吾, 斎藤信吾, 藤井由理, 藤井由理, 古谷誠章, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2016  2016

    J-GLOBAL

  • John Hejduk研究 初期作品「Texas House」シリーズにみる手法〈The Nine Square〉とその設計意図

    若杉美由紀, 斎藤信吾, 斎藤信吾, 藤井由理, 藤井由理, 古谷誠章, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2016  2016

    J-GLOBAL

  • 1960年出版『桂日本建築における伝統と創造』の制作過程にみる近代の建築家と写真家の思想

    大井雅史, 大井雅史, 斎藤信吾, 斎藤信吾, 藤井由理, 藤井由理, 古谷誠章, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2016  2016

    J-GLOBAL

  • 「負のモニュメント」に関する研究-「モニュメント」と「負のモニュメント」の比較による「非ファロス型」の示す追悼性の意味-

    御供崇尚, 御供崇尚, 斎藤信吾, 斎藤信吾, 藤井由理, 藤井由理, 古谷誠章, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2016  2016

    J-GLOBAL

  • 菊竹清訓研究「更新」から浮かびあがる原風景 初期リノベーション建築群からペルー・ローコストハウジング計画までの分析を通して

    大谷美帆, 大谷美帆, 斎藤信吾, 斎藤信吾, 藤井由理, 藤井由理, 古谷誠章, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2016  2016

    J-GLOBAL

  • 7426 Reconsideration and Revelation of the Relationship among Big Events, Preservation and Urbanization in the Context of Metabolism Concept

    Wang Xinpeng, Nemoto Yuuki, Saito Shingo, Lee Dong Hoon, Fujii Yuri, Furuya Nobuaki

    Summaries of technical papers of annual meeting   2015   943 - 944  2015.09

    CiNii

  • 9187 Research on Eero Saarinen : Technological development by collaboration and the realization of a new expression beyond the field

    WATANABE Mahoko, SAITO Shingo, FUJII Yuri, FURUYA Nobuaki

    Summaries of technical papers of annual meeting   2015   373 - 374  2015.09

    CiNii

  • 9257 Study of Geoffrey Bawa : The research of Geoffrey Bawa's intention to "a way of building"; the state condition of architecture

    TAKADA Kazumasa, SAITO Shingo, FUJII Yuri, FURUYA Nobuaki

    Summaries of technical papers of annual meeting   2015   513 - 514  2015.09

    CiNii

  • John Hejduk研究―手法〈cross‐over〉とドローイング集『BOVISA』の分析からみるMasqueシリーズの設計意図―

    中村絵理子, 斎藤信吾, 藤井由理, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2015   ROMBUNNO.9254  2015.07

    J-GLOBAL

  • John Hejduk研究―初期住宅作品「Wall House」の成立過程にみる手法としての〈Fabricate〉と設計意図

    高橋まり, 斎藤信吾, 斎藤信吾, 藤井由理, 藤井由理, 古谷誠章, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2015   ROMBUNNO.9161  2015.07

    J-GLOBAL

  • Geoffery Bawa 研究〈a way of building〉にみる「状態」への志向

    小林ひかる, 藤井由理, 斎藤信吾, 高田一正, 古谷誠章

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2015  2015

    J-GLOBAL

  • 9193 Serie and Serialism on Architecture considering through serial music and art

    FUJII Yuri

    Summaries of technical papers of annual meeting   ( 2012 ) 385 - 386  2012.09

    CiNii

  • 建築におけるセリーとセリエリズムのための一考察 音楽と美術におけるセリエリズムを通して

    藤井由理

    日本建築学会大会学術講演梗概集・建築デザイン発表梗概集(CD-ROM)   2012   ROMBUNNO.9193  2012.07

    J-GLOBAL

  • Commune by the Great Wall 万里の長城沿いに並ぶ12棟の別荘群 水かんの家 中華人民共和国・北京郊外

    古谷誠章, 藤井由理, 安田綾香

    新建築   77 ( 8 ) 122-127,222 - 133  2002.07

    CiNii J-GLOBAL

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Syllabus

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Sub-affiliation

  • Faculty of Science and Engineering   Graduate School of Creative Science and Engineering

  • Affiliated organization   Art and Architecture School

Research Institute

  • 2022
    -
    2024

    Waseda Research Institute for Science and Engineering   Concurrent Researcher

Internal Special Research Projects

  • 建築と美術を横断する手法論の研究

    2022  

    　View Summary

    「建築と美術を横断する手法論」を研究テーマとして掲げ、今年度は継続研究としておこなっているル・コルビュジエの絵画と建築を横断する手法についての研究を進めた。新型コロナウィルス感染症による渡航制限が緩和されたことにより、フランスのパリにあるル・コルビュジエ財団を訪問し文献調査を行い、フランス・スイスにあるル・コルビュジエの設計した建築の見学と3D実測調査を４日間に渡っておこなった。加えて、近代建築における色彩理論の調査では、ル・コルビュジエのポリクロミー理論に関する文献の収集を行い、翻訳を開始した。

  • 建築と美術を横断する方法論の研究

    2021  

    　View Summary

    「建築と美術を横断する手法論」を研究テーマとし、いくつかの事例における手法をケーススタディとして研究を進めた。今年度は、横断的な手法として、特に色彩に注目し研究を行った。色彩についての研究は2021年度からの研究であったため、先ずは近代における色彩論についての基礎的な研究を、文献を中心として行った。並行して、「建築と美術を横断する手法論」のケーススタディとして継続的に調査を行っているル・コルビュジエ研究から、2018-19年に実測調査を行ったラ・トゥーレット修道院礼拝堂の色彩の特徴について、2021年度日本建築学会大会で梗概発表を行った。

  • 建築と美術を横断する手法論　― ケーススタディ⑴ 建築家ル・コルビュジエ

    2020  

    　View Summary

    「建築と美術を横断する手法論」を研究テーマとして、以下の３点についての研究を行い、それぞれについて成果をあげた。ケーススタディ（１）：建築家ル・コルビュジエ　絵画と建築ル・コルビュジエのピュリスム絵画の理論の建築への実践についての研究を行った。成果を論文としてまとめた。ケーススタディ（２）：コンピューターアートと建築の横断的手法の研究科研費2021年度挑戦的研究（萌芽）に応募した。ケーススタディ（３）：建築と美術に共通する「グリッド」という方法論の研究３月28日に建築家と建築史家、美術史家、美術評論家を招いて、座談会をオーガナイズし、議論を行った。